Abstrakčiosios tapybos formavimosi galimybės po "atšilimo" ir Vytauto Povilaičio kūryba

LTStraipsnyje analizuojamos abstrakčiosios tapybos formavimosi galimybės Lietuvoje XX a. 7-ojo dešimtmečio pabaigoje-8-ajame dešimtmetyje. Apibūdinamos oficialios spaudos aktualizuotos temos, kur faktai ar citatos dažniausiai būdavo panaudojami demagogiškai, kuriami neigiami ideologiniai atgarsiai apie „kitokią" tapybą. Remiantis Vytauto Povilaičio kūrybos pavyzdžiu, straipsnyje rekonstruojami meno kritikos pokyčiai ir perteikiamos pagrindinės išsivysčiusios jų nuostatos, kurios dviprasmiškai „padėdavo" išlikti tapybos arenoje. T. y. viešai pristatyti dailininkas galėdavo ne savo mėgstamą temą ar bandymus kurti naują, savitą stilistiką, o tik ideologiškai „tvarkingos" realistinės manieros kūrinius. [Iš leidinio]Reikšminiai žodžiai: Sovietinė kritika; Teminis paveikslas; Abstrakčiosios tapybos modifikacijos; Soviet criticism; Theme painting; Modifying abstract painting.

ENThe end of 1960s and 70s was a time of change for Lithuanian art press - the old Stalinistist principles were resurrected, new restrictions were issued for artists and all of these were called useful discussions, new understanding, better education. In this context, Vytautas Povilaitis' (born 1927) paintings of that time are of interest to the researchers now because of two different aspects: as a typical example for that period of constricted creativity and as a transitional period before the artist's turn to abstractionism. The first part of the article looks at the attempt of the press to balance the constrictions of ideology with the metaphoric speech. The second part analyses Vytautas Povilaitis' range of work: made to order monumental art, his favourite landscape motifs and his personal take on abstraction. Although art criticism of that time expanded its understanding of landscape and portrait and accepted the new painting, giving it sometimes metaphoric meanings, it found it very hard to get through authority discourse. Nobody dared to admire abstract art, even indirectly, or to discuss its problems. But some didn't keep to this unspoken authority discourse agreement and therefore misunderstandings happened. Because of doubtful beliefs or personal dislikes, some more open arguments or angry criticism towards colleagues appeared in the press. There were different opinions on Povilaitis' art, which varied between realistic figure compositions and abstract landscape. In the Soviet era all of his abstract attempts were combined with his early favourite landscape motifs: finishing the picture, framing it and parts of supposed landscape emerging through splattered canvas. The art from this time cannot be considered the pure abstraction, it is different from his later work, and shows certain constrictions. We can trace both a conforming to the restrictions and a sense of adventure in his art. [From the publication]